In the world of film, festivals have long been spaces where new voices find audiences — and where stories that don’t always fit the mainstream get their moment to shine. TITE, Ireland’s first festival dedicated entirely to trans and non-binary cinema, is doing exactly that. Ahead of its launch, Assistant Editor Dev Murray caught up with the festival’s co-founders James, Ailo and Caleb, to hear how their own journeys with film shaped the creation of TITE, and why this festival isn’t just for trans audiences — but for anyone who loves bold, brilliant, boundary-pushing cinema.
So first off — can you tell us a bit about yourselves, and what brought you to the world of film?
James: My mam is a huge film buff and was showing me a huge range of films from a really young age, so it’s always been in my blood. I studied film theory in college but I’ve never really wanted to be a filmmaker, so I didn’t really have a sense of whether I’d like to work in film until I got a programming internship at the GAZE LGBTQIA Film Festival in 2020. When I started learning about film festivals — curation, programming, and all the other roles that go into connecting filmmakers with audiences — I felt like I’d finally found a role that I loved and excelled at.
Ailo: For me, growing up, film was an escape from the world I felt excluded from — but now it’s about connecting.
Caleb: I’m a filmmaker who also works as a festival producer and film programmer. When I’m not making films, writing or on set, I’m programming films, watching films, thinking about films.
What is the TITE Film Festival, and what makes it different from other film festivals audiences might have been to before?
James: TITE is Ireland’s first festival of trans and non-binary cinema. You might have seen some films by transgender filmmakers at GAZE, DIFF or the Galway Film Fleadh, but this is the only one in Ireland dedicated to it entirely. It means we have a really interesting range of short and feature films that might never have screened in Ireland otherwise, because there’s never been a space like this that really allows you to explore the full range of trans filmmaking — from comedy to horror, to documentary, to drama and more.
What can audiences expect from attending TITE? There’s this idea that trans art has to be educational or political to be ‘valid’ — TITE flips that on its head. Can you tell us more about the importance of focusing on artistry, performance and community?
James: I’d say all trans art winds up being politicised some way or other, but TITE definitely focuses more on films by trans filmmakers that are fun, exciting, entertaining. Films that are more focused on teaching you what life is like for trans people — like documentaries or coming-of-age films — they’re important in their own way, but they already get a lot of space at other festivals. If you aren’t trans — you’re getting a really, really narrow idea of what trans people are like if you only ever see that kind of film.
It’s important for non-trans people to see what trans people like to make on their own terms; it’s important for trans people to have access to films that are fun and cool; it’s important for trans filmmakers to have their non-educational work valued; it’s important for non-trans filmmakers to have the world of film enriched and expanded by these contributions.
Caleb: From my perspective as a filmmaker, there is an assumed inherent pressure from outside bodies — be that funders, execs or otherwise — to lay yourself bare on the table in order for audiences to connect with this idea of ‘trans struggle’, and all the politics that come from that. I have always believed there is a time and place for those sorts of films (on a filmmaker’s own terms) but TITE is looking beyond the idea of transness as inherently political — to transness as a catalyst for bold, entertaining, sexy and challenging pieces of work that take us a step further than what you might expect when you think of ‘trans cinema’.
What kinds of films will be screened — is there anything in there that might be surprising?
James: The trans film world has a lot to offer, but it is still really centred on North America and Europe. We have a South Korean film called Peafowl that’s a breath of fresh air from that landscape. It stars an incredible trans actress and dancer called Choi Haejun, and it’s a beautiful spin on the classic homecoming story that really blurs the artificial lines we make between tradition, modernity, and where trans people fit in that. I love talking about the weird and crazy films TITE has, so it might surprise people that we have something that seems more conventional at first blush — but it’s a film with a lot to offer, and a great place to start if you want to start seeing a new side of modern cinema.
What’s it been like building something new from the ground up? Tell us more about your community-driven approach.
Caleb: When people get involved to run a festival on a voluntary basis, it’s because those people truly care about what the festival stands for. Building something from the ground up does have its challenges — financially — but it has also welcomed incredible support, creating a real buzz ahead of the festival weekend. It’s a labour of love that has paid off tenfold.
One thing that stands out about TITE is the emphasis on trans voices behind the camera — not just on screen. Why is that distinction important?
James: When you have a ‘trans film’ in a festival, a lot of the time that can mean a film that is about a trans person, starring a trans actor — but nobody on the creative crew was trans.
Caleb: A lot of trans filmmakers and below-the-line creatives are not working on projects that are trans-specific. Some are working in horror spaces creating monsters, some are writing experimental comedy, some are designing the costumes for a period piece TV show as their day job. Trans filmmakers are more than who is in front of the camera — they’re the producers, set designers, editors, location managers, caterers — all collaborating to create pieces of work that speak to their craft, regardless of whether that story relates in any way to their transness. It’s equally important to be uplifting filmmakers in technical and craft roles as much as it is to welcome the writer, director, actors. We’re shifting the narrative on who is invited to the table.
You’ve got some great guest programmers and collaborators lined up. Can you tell us about a few highlights or names audiences should watch out for?
James: Just recently we were able to confirm that Kristiene Clarke will be joining us for a post-screening Q&A — which we’re so excited about. She’s the director of a 1988 film called Sex Change: Shock! Horror! Probe! that we’ll be screening with a historian and curator called Jaye Hudson (no relation!) — it was the first documentary about trans people by a trans person to air in Britain. Having such a historically significant director at the festival is really special!
TITE is a celebration of trans cinema, but is also ideal for indie film lovers, curious newcomers and allies. What would you say to someone who might feel like they’re ‘not the target audience’?
James: If you take away one thing from this, it’s that the films at TITE are really, really fun. Trans filmmakers are just as likely as anyone to make your next favourite film — there’s just a lot more standing between their film and Irish screens. Seeing a film at TITE doesn’t need to be some big gesture of support to the trans community (although we appreciate that!) — it’s also giving yourself a chance to discover comedies, dramas, documentaries, short films, feature films, horror, romance… whatever kind of film you love, it’s probably at TITE, you just haven’t seen it yet.
You’ve spoken before about trans filmmakers in Ireland being a small but growing group — how do you hope TITE can support and grow in the years to come?
James: Financially, I hope! In our first year we have very, very little in the way of funding, but we’re hoping to set a strong foundation so that we can access more funding for future festivals — which can go into supporting Irish trans filmmakers materially. There’s heaps of Irish trans filmmakers who have the skills and the scripts to change this country’s cinema — but they need to pay rent (in a housing crisis), buy food (in a cost of living crisis), afford hormones (in a healthcare crisis) — and that’s before we even tackle development and production costs. We’re not going to be creating the next Perspectives scheme, but if we could create a small award for an Irish trans film production — which would hopefully grow over time — I think that could be game-changing.
What kind of impact do you hope the festival will have — not just on audiences, but on the wider film industry here in Ireland?
Caleb: I hope that the festival can particularly showcase Irish trans short filmmakers who are presenting work that was not funded by screen bodies. The talent and scope of these projects were not limited by their tech or small budgets, despite the majority not receiving any financial support in traditional ways. These films not only represent the community-first attitude for TITE, but show audiences and the wider Irish film industry — well, if this is what these filmmakers can do with no money, imagine what they could be doing. Active steps towards the sustained careers of trans people in Ireland through industry recognition can only continue exciting yearly programming of local talent.
Last one — if someone’s only got time to make it to one screening or event, what would you personally recommend they check out, and why?
James: There’s a film called Soft which is really close to my heart. It’s about three tweens in Toronto whose mother figure goes missing, and suddenly they’re caught between their imaginary idea of what it’s like being an independent adult and the harsh reality of life for queer people of colour — trans women especially. Trans youth has been metamorphosed from such an ordinary thing (I used to be a trans youth!) into something so needlessly incendiary. I think it’s wonderful just spending a couple of hours with some of the funniest, kindest, realest kids I’ve ever seen in cinema. In a really hard time, it’s very grounding.
Caleb: Come and see either our IMAGE or EXPERIENCE short film programmes that truly showcase the breadth of trans storytelling from Ireland and beyond — followed by Q&As with some of the filmmakers involved.
TITE runs from 25th-27th April 2025 at the Light House Cinema. Get your tickets and see the fantastic line up at TITE.ie.
James Hudson / Festival Director
James has worked at the GAZE LGBTQIA Film Festival since 2020, where he is currently Assistant Programmer. Since 2022 he has also programmed the monthly Small Trans Film Club, and has guest programmed at the IFI, the Light House Cinema, the James Connolly Festival and the Dublin Comic Arts Festival among others.
Caleb J. Roberts / Festival Producer & Programmer
Caleb has worked as a programmer and events producer for the Galway Film Fleadh, the British Film Institute (BFI), and Outburst Arts where he is currently Head of Film Programming. He also brings the unique insight of a filmmaker to the TITE team as an award-winning screenwriter and director.
Ailo Kerr / Festival Marketing
Ailo i
s a dynamic force in film and TV production. Ailo excels in capturing dialogue on location and crafting immersive soundscapes in post-production. He adeptly wields lighting desks to illuminate scenes with cinematic brilliance. A collaborative powerhouse, Ailo’s unwavering work ethic and creative vision elevate projects. Passionate about innovation, he constantly seeks new challenges and efficient workflows. His creative versatility is an invaluable asset, offering a multitude of perspectives and solutions. With a flair for writing, and an interest in trying his hand at producing and directing, Ailo is poised to make an indelible mark on the industry.
